Untitled 2010

Almost Disappearing

I undress my armor and think about my personal relationship with the body.

Each day I looked into the mirror, and each day a different image reflected back. I become interested in these distortions. In a collection of familiar appealing shapes as spoons, combs; to others rather discomfortable as bats and paddles, I try to portray every single one of them, as an emotional discussion; and an exploration of Intimacy.

Hurts

The ways in which I react to emotional events trough the making give me the sharpest satisfaction. Hardly can words convey the hardness of steel, nor has innocence ever been so forgiving.
Taking once again the materiality of steel in consideration, I focused on its protective-aggressiveness in order to form a dialogue between piece and wearer; wearer and viewer.
The literalness of the work allows to be identified with quickly and ponder all the things the heart can go through. There are countless ways in which reconciliation can be achieved; and even though none can guarantee sufficient self reflection, thriving still makes great a sport. As a portrayal of hurts, these hearts seem wounded; drained; withered; irritated; prepared; or even receptive to whatever may be thrown onto them. Once worn, they portray the wearer as much as give strength and readiness to deflect anyone from getting too close. These are hearts that shield hearts.

Di Indigetes

Relationships with time, space and objects were the focus of my attention during my time in Detroit, Michigan, USA. In an attempt to belong – as a bird makes its nest – I gathered materials that surrounded me; and searched for forms that could convey the present struggle.

Saw blades and rusty steel populated my studio, as vanitas on a still life. From them I created brooches that hung on the body like uncomfortable companions, burdens of a neglected past, that engaged a bittersweet relationship with the wearer. The pieces found their visual strength in the contrast between the delicate organic surfaces of the inside versus the sharp industrial edges.

Covers

Amsterdam, Holland, 2009

Among many of my collections, one of my most treasured is shiny démodé Jewellery that I have gathered for some time, but have, as a jeweller and an artist, felt self-repressed to wear in public.

 

With the intention of making them acceptable, I have started to cover them by means of different techniques and materials suitable to each piece. This dragging process made them hybrids in denial of their original festive nature, and in times, an unclear ground of destruction and redemption.

Throughout this process of covering, I happened to come to hide less and less of the pieces I worked on. Gradually I came to accept the campy tone of the originals, and started using the materials as a tool to enhance their qualities instead.
This coming out process made way to a freedom of exploring my attraction to Camp, which gave me power to liberate myself from preconceived ideas of rightness, style and beauty.